2015; At the GEP North HQ, dinner is served after the
STRAY BULLETS crew wrap for the day.

Edgar Allan Poe, born January 19, 1809
has provided chills for generations of horror lovers 

enjoy Poe’s prose with Masque of the Red Death,
a Tales From Beyond The Pale Reading
by GEP thespian John Speredakos
with Sax-scape accompaniment from Fessenden

Tonight!!

Interview with Jesse LoCascio
Published on Jan 18, 2022

On his 10th Anniversary as a filmworker in the camera department, Jesse LoCascio talks about the rigors of the job, a love of lenses and his history at Glass Eye Pix as intern, 1st and 2nd Camera Assistant, film loader and operator on an array of GEP projects since 2012, including THE COMEDY, LATE PHASES, music videos and shorts, STRAY BULLETS, LIKE ME, THE RANGER, DEPRAVED, FOXHOLE and CRUMB CATCHER. Interview and Edit by Larry Fessenden.

watch other MiniDocs to meet the Glass Eye Pix community

Now that 2022 is here to bring new fear, the Rotten Tomatoes Tomatometer
recalls 2021’s most critically renowned frights.

Stakes are raised when a vampire comes between a bumptious minister and his wife, Anne, who craves an adventurous life outside the dullness of suburbia in this humorous throwback to oldfangled horror cinema. The relationship parable is given a feminist edge due in part to iconic, cult-classic actress Barbara Crampton (Re-Animator, Chopping Mall).

Crampton and co-star Larry Fessenden (Habit, Wendigo) demonstrate bloody fine chemistry as the couple sorts through their marital issues. Its modern sentimentalism is contrasted with a more traditional vibe in terms of its horror-adjacent aspects. For instance, the ratlike master vampire bears an unmistakable resemblance to Count Orlock from F.W. Murnau’s Nosferatu.

See Full List HERE

Working with a stable of GEP collaborators, Ti West is back! 

This X-citing original motion picture features Owen Campbell (Bitter Feast, Depraved) 
shot by Eliot Rocket (Liberty Kid, The Innkeepers) 
produced by Jacob Jaffke and Peter Phok (Bitter Feast, The Innkeepers, etc) 
Sound design by Graham Reznick (The House of the Devil, etc etc)
and sound edited at Red Hook Post (Foxhole, Depraved)

Looking back at a life ended by an on-set tragedy, and forward with an array of veteran motion-picture professionals who discuss workplace safety and how the film community can do better.

Producer-Director
Larry Fessenden
I run a small production company out of New York called Glass Eye Pix. We have made dozens of movies, often with first-time filmmakers and often with the same crewmembers.

Our motto is: “Safety first, movie second, feelings third.” And by “feelings,” I mean ego. For me, this has philosophical weight. Safety of body and mind is the most important, and over the years the concept has expanded from car crashes and gunplay to include sex scenes, dietary restrictions and reasonable working hours. Let’s just say it up front: Good food, communication and a respectful schedule are essential to a creative team’s morale.

Having said that, production safety is everyone’s responsibility. As a producer, my approach is to build a community of trust around the movie — the thing we are working together to achieve. I want collaborators who are enthusiastic and who bring a sense of pride to the project. I encourage camaraderie as well as personal responsibility among the ranks. If it’s just another gig, they’re not going to be fully engaged in creating the kind of environment where everyone can do their best work.

At every budget level there should be a pursuit and expectation of excellence and care. On the low-budget ($250,000-$3,000,000) films I’ve produced — which have included fire, guns, underwater sequences, icebreaking, plane crashes, car crashes, boats sinking and bad weather — everyone knows each other and has each other’s back. A crew with fewer people means that everyone takes on more responsibility, and this group mentality has the effect of focusing everyone’s attention.

This also goes for those in above-the-line production, who must be responsive to the needs of the crew. If there’s a fear of speaking up on set, you’re already in trouble, and those producers who are cutting corners and pushing crews past their limits are ruining the business for everyone else. Producers must listen and assess. If a complaint is well-founded, you adjust. A filmmaker who truly understands the power of film knows you don’t need to endanger people to create a sense of danger on the screen. As Hitchcock would say: “It’s only a movie.”

Even so, I consider filmmaking a robust activity, and I expect my team members to have some grit. I grew up loving the films of Werner Herzog, Akira Kurosawa and John Huston; these movies have an aspect of controlled danger to them. You just have to create an environment of trust where your crew feels like they’re always given a choice, and where saying no doesn’t feel like a rebellion — it might just be a reality check. — As told to Iain Marcks

Read whole article at American Cinematographer

Latest issue of FANGORIA features writer Richard Nemby’s probing analysis of the Slasher Genre with ample ink spilled on Jenn Wexler’s punk horror pic THE RANGER, produced by GEP and Hood River Entertainment and starring Chloë Levine and Jeremy Holm.

Get your copy at the local news stand or subscribe today!

STILL RUSTY still available at Bandcamp and amazon